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Mr. Hadley and “Cleopatra’s 


“Cleopatra’s Night,” which will have its 
premiere at the Metropolitan Opera House 
Saturday afternoon, January 31st, will be the 
tenth work by an American composer to be 
produced by General Manager Gatti-Casazza. 
Other American-made operas produced by 
this management during the past twelve years 


are: Converse’s “Pipe of Desire’; Parkers’ 
“Mona”; Damrosch’s “Cyrano’; Herbert's 


“Madeleine”; De Koven’s “The Canterbury 
Pilgrims”; Cadman’s “Shanewis”; Gilbert's 
“Dance in Place Congo”; Breil’'s “The 
Legend”, and Hugo’s “The Temple Dancer.” 

Henry K. Hadley is well-known to the 
American public. A Massachussetts’ Yankee, 
but of a music-loving family, he worked at 
his art in Boston and Europe, conducting 
opera at Mayence and later becoming con- 
ductor of the San Francisco Symphony 
Orchestra. He already has four symphonies 
to his credit, several overtures, a ballet, a 
symphonic fantasia, a poetic rhapsody and 
four operas: “‘Safie,” “Azora,” “The Atone- 
ment of Pan” and “Bianca,” the latter pro- 
duced at the Park Theatre last season. 
“Cleopatra’s Night,” Mr. Hadley’s latest work, 
was accepted by Mr. Gatti-Casazza_ last 
winter. Asked to tell something about its 
birth, Mr. Hadley said: 

“How did I happen to write this opera? 
While a student in Vienna I chanced upon 
Theophile Gautier’s fascinating short story, 
“Une Nuit de Cleopatre,” and was much im- 
pressed by his descriptions. Put it was only 
after I went to Egypt, saw the landscape and 
vivid coloring that I determined to write 
something with this wonderfully romantic and 
mysterious country as its backgréund. Then 
I recalled this story, and the possibilities 
which it offered—not only as an imaginative 
flight, but as a practical piece for the theatre. 

“The Orient has always had a_ peculiar 
charm for me. I visited all the Café chant- 
ants and native theatres in Cairo, determined 
to take down some material, but found it all 
so crude and primitive and atrociously out of 
time that I fled into the country to seek 
inspiration from nature. For several weeks 





Night” 


I lived in the outskirts of a little village on 
the Suez Canal called Ishmalia on the border 
of a tiny lake, camping with another dreamer 
who was preparing a work on etymology. 

“The glories of the sunsets filled us with 
awe and wonder, and the silence spoke 
volumes concerning the past. In this secluded 
garden of dreams I planned an Oriental Suite 
for orchestra on original themes but the spell 
of ‘Cleopatra’ was over me. I procured an- 
other copy of Gautier’s story in Cairo and 
again revelled in his extravagant word-pic- 
tures. Returning to Paris I made my first 
sketches of thematic material, and now after 
the lapse of several years I have remoulded 
these themes to Mrs. Pollock’s attractive 
libretto, and ‘One of Cleopatra’s Nights’ has 
become a short opera. 


“During the summer of 1918 I became so 
obsessed with the work that I wrote inces- 
santly until I had finished the sketches. The 
score is more or less freely conceived and 
naturally written in the modern idiom. I 
have attempted in my orchestral coloring to 
portray the strange, mad love of Meiamoun 
for his Queen. This is particularly empha- 
sized by a short phrase in the clarinet, a 
combination of two curious scales which 
recurs throughout the work. 


“Since my opera was accepted at the Metro- 
politan I have found the interest and en- 
thusiasm of Madame Frances Alda, who will 
sing the main role, of the greatest inspiration 
in finishing my orchestration. Mr. Norman 
Bel Geddes has taken keen interest in pre- 
paring most gorgeous scenic 
The towering columns and forty-foot door 
are quite in keeping with the grandeur of 
Egyptian architecture. Maestro Gennaro Papi 
has generously co-operated with me in every 
detail of the while Mr. Richard 
Ordynzki’s aid as Stage Director has been 
invaluable. 


music, 


“The work occupies not more than one 


hour and a half and will be presented in two 


acts with an orchestral intermezzo containing 
the love song plaved by the flute.” 


decorations. — 


RED LIGHTS INDICATE EXITS 





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EXITS 


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32.34.36.38.42. 
To 401 Sr. 


29. 31.33.35,39, 
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—_—_—_ 


DRESS CIRCLE 














37 
39 

















CLEOPATRA’S NIGHT 
(Une Nuit de Cléop@tre) 


Digitized by the Internet Archive 
in 2007 with funding from 
Microsoft Corporation 


http://www.archive.org/details/cleopatrasnightu00hadliala 


LIBRETTO 


Cleopatra’s Night 
(UNE NUIT DE CLEOPATRE) 


OPERA 
IN TWO ACTS 


MUSIC BY 


HENRY HADLEY 


Op. 90 


TEXT BY 


ALICE LEAL POLLOCK 


(Based on a story by Théophile Gautier) 


FRENCH VERSION BY 
GRACE BALI 


BOSTON: OLIVER. DITSON. COMPANY 
NEW YORK: CHAS. H. DITSON & CO. CHICAGO: LYON & HEALY 
LONDON: WINTHROP ROGERS, Lrp. 


CIsE@PATRAS NIGHT 


OPERA IN TWO ACTS 
Book By ALICE LEAL POLLOCK 


(BASED ON THE STORY ‘“‘UNE NUIT DE CLEOPATRE’’ BY THEOPHILE GAUTIER) 
(IN ENGLISH) 

MUSIC BY HENRY HADLEY 

: - , : ; 5 ' 2 : FRANCES ALDA 


CLEOPATRA ne 
- MORGAN KINGSTON 


MEIAMOUN _. : : 5 - - ae ° ° . 

MARDION ° , : ’ : . . = : wo a : . JEANNE GORDON 

IRAS : : : Cees : * ce F - : MARIE TIFFANY 
‘ ir at) feta a : : MILLO PICCO 


THE -EUNUCHY 235 2 
ATROMAN. OI RUGE Roe (08 fy" eye Lee. te ‘oa, 1) LOWLS: DIANIGELO 
THE VOICE OF MARK ANTONY VINCENZO RESCHIGLIAN 

SLAVES, EUNUCHS, ROWERS, GUESTS, GREEK GIRLS, DESERT GIRLS, JUGGLERS, 
MUSICIANS, MARK ANTONY'S HERALD AND RETINUE. 


ALL RIGHTS OF REPRODUCTION, TRANSLATION AND PUBLIC PERFORMANCE 
RESERVED FOR ALL COUNTRIES INCLUDING NORWAY, SWEDEN AND 


DENMARK 


Copyright, 1920, by Oliver Ditson Company 
International Copyright Secured 


ARGUMENT 


It is a period of dry and oppressive midsummer heat. Cleopatra’s 
favorite attendant, Mardion, and one of her female slaves, Iras, are waiting 
at the baths near the summer palace for the return of the Queen from a 
festival on the Nile. Their talk is of the Queen’s amours, and of 
Mardion’s unrequited passion for young Meiamoun, a brave and chaste 
hunter. A eunuch interrupts them to announce the immediate arrival of 
Cleopatra for her bath, the heat of the day having made her cut short the 
festivities. Cleopatra magnificently appareled, makes her appearance in 
a gorgeous barge propelled by fifty rowers, and surrounded by a glittering 
retinue. While she laments the loneliness of queens, a whistling sound is 
heard and a quivering arrow buries its point near her. Almost swooning 
with terror, she stifles a scream while Mardion rushes forward and picks 
up the arrow, which is wound about with a piece of papyrus. The Queen 
fears it is the attempt of an assassin, but no; the papyrus bears the words, 
“IT love you.” While she muses upon this incident, and her women are 
disrobing her for the bath, the head of a man swimming is seen in the dis- 
tance, and just as Cleopatra prepares to step into the pool she utters a 
piercing scream, for Meiamoun staggers up gasping and glistening from the 
water. In the ensuing babble, while the eunuchs spring forward with 
lances aimed, Mardion places the papyrus again insinuatingly in Cleo- 
patra’s hand. She orders the man brought to her. He confesses that it 
was he who sent the arrow with its message, prompted by his all absorbing 
love and passion for her beauty. Influenced by his ardor, her mood changes 
gradually from imperious anger, and yielding to her own awakening pas- 
sion, she offers him a single night of royal splendor and of love’s transports 
if he will die at sunrise. Mardion horrified, begs him to kill himself be- 
fore becoming the Queen’s plaything, but he refuses; and Mardion herself, 
seizing a dagger, plunges it into her own heart. The Queen orders her 
lifeless body thrown to the crocodiles; and to the sound of trumpets and 
shouts of courtiers, she and Meiamoun seat themselves in the barge and 
glide toward the palace, while twilight deepens over the scene. 

A gorgeous banquet is prepared on the terraces of the palace; but 
while the guests wait, the Queen tarries long with Mefamoun. Finally she 
appears, jewelled and robed with dazzling brilliance, while her lover of a 

< 


1134273 


night is arrayed like a young king. She seats herself on the throne, bidding 
Meiamoun take his place beside her; and Greek girls enter and perform a 
dance, followed by a wild band of desert maidens, whose dance grows 
faster and more furious. Their voluptuous gestures and attitudes of se- 
ductiveness excite the guests to unlicensed passion, and the scene becomes 
a debauch, when the men snatch at the dancing girls and seize them bodily 
to carry them screaming and laughing to hidden parts of the garden. Fin- 
ally all disappear, leaving Cleopatra and Meiamoun alone. They are 
absorbed in the transports of their love, but the night is waning and Cleo- 
patra urges him to accompany her to a hidden white temple in the garden 
where they can be alone. He sorrowfully points to the east, where the first 
faint glow of the coming day is apparent. 

Wildly she insists that it shall remain night for a month, but her royal 
power is impotent here, and with the actual appearance of the dawn a 
distiller of poisons enters, bearing a vase containing a most deadly drug. 
This he offers to Meiamoun who prepares to drink it, but first he begs 
of Cleopatra that after his spirit has left its earthly shell she will hold his 
body to her heart and kiss his lifeless lips. She promises. He drinks the 
poison and falls dead at her feet, just as Iras rushes in to announce the im- 
mediate arrival of Mark Antony. Slaves cover Meiamoun’s body with 
silken cloths. Antony’s officers approach the Queen and tell her that 
Antony has ridden all night in order that he might greet her with the sun. 
Bidding them take word to Antony that she will greet him at once, she 
bids them withdraw; and alone with the body of her lover she kneels be- 
side him and kisses his lips tenderly, while she pours forth her soul in a 
lament of passionate longing and sorrow. The voice of Mark Antony 
- ealls to her from without, and reluctantly she raises herself, and with a 
parting kiss on Meiamoun’s lips she goes slowly up the stairs of the palace, 
while from the distance one hears the solemn chant of priests. 


vi 


CHARACTERS 


CLEOPATRA, Queen of Egypt Dramatic Soprano 
Meiamoun, A Young Egyptian Tenor 

Mark ANTONY Baritone 
Maropion, Favored Maid to the Queen Mezzo Soprano 


DiomepEs, Chief of Cleopatra’s rowers 
Tue DistILLER oF Poisons 


Tras, A Maiden Mezzo Soprano 

A Eunucu Baritone 

Antony’s CHIEF OFFICER Baritone 

A GUEST Tenor 

A Hunery Guest Bass 

A FEMALE GuEsT Mezzo Soprano 
Also 


Cleopatra’s slaves, Eunuchs, Female attendants, Rowers, Banquet 
guests, Greek girls, Desert girls, Hump-backed dwarfs, Magicians, 
Musicians, Mark Antony’s Herald and his attending Retinue. 


ACT I. The baths of Cleopatra at the foot of her Summer Palace at 
sunset. 


ACT II. The Terraces of the Palace before Sunrise. 


vii 


PERSONAGES 


Ci&£0PATrRE, Reine d’Egypte Soprano 
MEIAmMovnN, un jeune Egyptien Ténor 

Marc AnTOINE Bariton 
Marpion, Esclave favorite de Cléopatre Mezzo Soprano 


Di1omMEDE, Chef des rameurs de Cléopatre 
L’EscuavE Portant LA CouPE DE Poison 


Iras, une jeune esclave Mezzo Soprano 
Un EvunvqurE Bariton 

CHEF DES OFFICIERS DE Marc ANTOINE Bariton 
PREMIER CONVIVE Ténor 
DEUXIEME CONVIVE Bariton 

Une InvitT&E Mezzo Soprano 


Eunuques, Rameurs, Convives, Danseuses, Nains Bossus, Hérautes 
d’armes de Marc Antoine 


ACTE PREMIER: Les Bains de Cléopatre, au pied du Palais d’Eté. 
Coucher de Soleil. 


ACTE DEUXIEME: Les Terrasses du Palais, avant |’Aurore. 


Viii 


CLEOPATRA’S NIGHT 


(UNE NUIT DE CLEOPATRE) 





ACT I 


The bath of Cleopatra, sunk in the midst of a 


spacious garden, is filled with mimosas, 
aloes, carob-trees, citron and Persian apple 
trees. The Nile flows silently sinister in the 
background. Vast terraces of verdant vege- 
tation climb upon gigantic stairways of rose 
colored granite which lead to the Palace. 
Vases of Pentelic marble bloom at either 
side of the steps with huge lily flowers. 


Exquisite feminine figures wearing earrings and 


necklaces whose bodies terminate in fish 
tails, griffen wings or lion haunches, 
extend their limbs upon the flower-strewn 
ways. A double row of these ‘delightful 
monsters”’ leads to the bath which occupies 
the left center. 


The Bath itself is a huge marble basin entered by 


porphyry stairways on either side. The 
transparent depths of the water reveal the 
bottom strewn with gold dust. On the brink 
figures of women terminating as pedestals 
spurt slender jets of perfume from their 
breasts into the bath. On their heads they 
support an entablature in bas relief fur- 
nished with bronze rings to which the silken 
cords of a velarium are attached. The 
implacable blue of the Egyptian sky encases 
the whole scene as in a tent. 


With the rise of the curtain the stage is empty. 


From across the Nile drifts the chant of some 
Egyptians imploring the Unseen for rain. 





ACTE PREMIER 


Les Bains de Cléopdtre, bdtis dans de vastes 


jardins remplis de mimosas, d’aloés, de 
caroubiers, de citronniers, et de pommes 
persiques. 


Le Nil, silencieux et sinistre, coule au bas des 


De 


bains. D’immenses terrasses, soutenant des 
massifs de verdure font monter les fleurs 
jusqu’au palais par de gigantesques escaliers 
de granit rose. Des vases de marbre 
pentélique s’épanouissent comme de grands 
lis au bord de chaque rampe. 

charmantes formes de femme, portant des 
boucles d’oreille et des colliers, se bifurquant 
en queue de poisson, se deployant en aile de 
griffon, s’arrondissant en croupe de lionne, 
sont couchées mollement sur le gazon tout 
piqué de fleurs. Une double rangée de ces 
délicieux monstres borde l’allée qui conduit 
au bain, situé au centre gauche de la scéne. 


Le bain méme est un vaste bassin avec quatre 


escaliers de porphyre de chaque cété. A 
travers la transparence de l'eau on voit le fond 
sablé de poudre d’or. Au bord, des femmes 
terminées en gaine comme des cariatides font 
jaillir de leurs mamelles un filet d’eau par- 
fumée quiretombe dans le bassin. Elles portent 
sur leur téte un entablement orné en bas-relief, 
et muni d’anneaux de bronze pour attacher 
les cordes de soie du velarium. 


Limplacable azur du ciel d’Egypte couvre la 


a ey . 
scéne entiére comme d'une tente. 


Au lever du rideau la scéne se trouve vide. 
Au dela du Nil le disque rouge et farouche du 


soleil plonge lentement sous Vhorizon. On 
entend les voix des Egyptiens adressant leur 
priére au soleil couchant. 


Une barque, puis une autre, passent silencieuse- 


ment. 


10 : CLEOPATRA’S NIGHT 


Eeyptians (chanting from the distance across the 
Nile:) 


O Nutar, Nutar am tu heret,—Send us the rain! 
Thou who causest all growth to fulfill desire — 


Grant us our prayer! 
(Marpion and Iras enter from the Palace) 


Tras 


Let us wait here for the Queen’s summons. 
Soon the fury of this heat will have been 
spent. (Iras flits about among the trees 
caressing them.) 

Poor parched carob-tree, little mimosa, all you 
wearied aloes, citron and Persian apple 
trees, I bring you news — soon, soon the 
purple bow] of night shall drench you with 
its nectar. See! (pointing to the sun) 


Marpion (mockingly) 


O Sun, red hot as a buckler fallen from the 
furnace of Vulcan! Do you at last con- 
sent to leave us for a few scant hours? I 
thank you. (with a mock obeisance) 


Tras 


Do you not fear, Mardion, so to mock the Sun- 
God? 


MAarDION 


I fear to mock no one but myself, could I but 
find that courage—then (clutching her 
heart in a frenzy of pain) would I tear out 
of my heart’s heart this wild-beast’s pain 
which it seems only my life’s blood will 
satiate. (She sinks upon a stone seat) 


Iras (stroking her head) 
How pale you are — paler than moon flowers 


bathed in star’s light. 


Marpion 
How should I not be? 


Tras 


In a world full of men as this garden of leaves 
— never would I be as you are. 





(Au loin les Egyptiens chantent sur la rive 
opposée du Nil.) 


O Nutar, Nutar, amtu heret, donne la pluie! 

Toi dont vient tout désir, tout apaisement, 
écoute-nous! 

(Marpion et Iras sortent du palais) 


Iras (@ Marpion) 


Attendons 1a, le soleil baisse: La fureur de son 
regard va s’‘éteindre. (IRas court parmi 
les arbres et les caresse) 

Ah! pauvres caroubiers, mes petits mimosas, 
tous dessechés! mais toi, mon beau 
pommier persique, console-toi, le soir de 
son nectar divin abreuve et soulage. 
Vois! (indiquant le soleil couchant) 


Marpion 


Soleil! bouclier ardent tombé de la fournaise du 
dieu Vulcain, dis, consens-tu enfin a 
détourner tes yeux de nous? (elle fait wne 
révérence moqueuse) Merci, Seigneur! 


Tras 


Ne crains-tu pas, Mardion, son courroux 


céleste? 


Marpion (avec audace) 


Mardion ne craint nul autre qu’elle! Aurai-je 
le courage, (pressant sa main sur son coeur 
angoissé.) N’arracherai-je pas de mon 
coeur cette angoisse fauve, que rien 
n’assouvira plus que mon trépas. (Elle 
se laisse choir sur un bane de pierre.) 


Tras (caressant les cheveux de Marpion) 


Que tu es pale, comme la lune 4a l’aurore. 


Marpion 


Comment ne pas |’étre? 


Tras 


En un monde plein d’hommes comme un jardin 
de fleurs je ne voudrais étre toi. 


CLEOPATRA’S NIGHT 11 


MArRDION 


In all this world of men, there is but one man. 


Tras 


Tell me his name. You gave your promise. 


MArpDION 


He is called Meiamoun — Mejamoun — the 
strong, the bravely beautiful! 


Tras 
Now know I less than ever. Where may one 
behold this wondrous being? 
MARDION 


That may few do. Long month on month 
hunts he the lion in the ocean of sands. 
Only the perilous — the unreached draws 
him! But no woman — if ever I could 
think that any woman— No—No — (she is 
overcome by her emotion). 

(A Eunuch enters from a small boat). 


Tue Eunucu 
The Queen returns from the Panegyris. 


Tras 
Returns — so soon? 


Tue Eunucu 

Her Cangia follows me. The swooning heat 
caused her to cut short the celebration. 
She bathes ere the sun depart. She would 
experience the new perfume from Arabia. 
See that all is well prepared — naught 
forgot! Cleopatra’s moods today are 
myriad as the sands. 

MarpIon 


And just as little to be built upon. 


IRAs 


Ouf — ’tis plain to see our Queen has tested no 
new poison for a whole long month. 


MarpDIon 
Nor in all that time bewildered any man with 


her caresses. The doom of someone now | 


draws very near. 





MARrDION 
En tout ce monde d’hommes il n’est qu’un 
homme. 
Tras 


Dis-moi son nom, j’ai ta promesse. 


MarpDIon 


On le nomme Meiamoun, Meiamoun, le fort, 
de beauté pareil aux dieux. 


IRAs 


Pourtant tu ne dis rien of donc peut-on voir 
pareil prodige? 


MarDION 


Qui sait, hélas! Des mois entiers il chasse dans 
le vaste désert. Le périlleux l’attire, 
l’impossible l’appelle, nulle femme. Si je 
croyais jamais qu’une femme—Non! Non! 
(accablée de son émotion) 


(Un Eunuque débarque d’une nacelle) 


L’EunvuquE 
La Reine revient de la Panagérie. 


Tras 
Revient si tot? 
L’EuNuQqUE 

Sa cange approche et cette chaleur impitoyable 
la raméne. C’est lheure du bain royal. 
Appretez les parfums de l’Arabie. Faites 
bien tout préparer, n’oubliez. Ses ca- 
prices, aujourd’hui sont plus nombreux 
que les sables. 


MAarDION 
Aussi, bien fol qui s’y fierait! 


IRAS 


Ah! cela se voit que notre Reine n’a fait tuer 
personne depuis un long mois. 


Marpion 
Je sens l’approche du fatal destin 


12 CLEOPATRA’S NIGHT 


Tue Eunucu 


Luminous does she seem, a breathing flame 
from her strange abstinence. 


Iras (laughing in derision) 
What sense have you of such things. 


THe Eunucu 


Enough to feel the Gods themselves might 
envy her next love! 
(He goes back — searches the Nile with his eyes) 


MarpDIon 


Do not mock him, Iras, would I were as he— 
insensible (bowing her head on her arms). 


Tue Eunucu 


The Cangia is not far distant —I warn you 
delay no longer. 


Marpion (rising languidly) 
You said the new perfume from Arabia? Iras, 
summon the attendants. 


(Exit Iras) 


(Mardion claps her hands two or three times. 


From all sides appear Eunuchs with lances 
and young slave girls.) 


Marpion (to the Eunuchs) 


Stand on guard — Queen Cleopatra comes to 
bathe even now. 

(To the girls) Haste your preparations. 
(Some of the girls strew flowers on the rim of 
the bath, others bring garments for the 
bath — some Eunuchs start the fountains — 
the girls playfully catch the spray from the 
breasts of the caryatides and throw it on the 
Eunuchs who stand immobile). 


Marpion (clapping her hands) 


To your places. Cleopatra is here. 
(The Cangia of Cleopatra glides into view 
propelled like velvet by its fifty rowers. The 
Cangia is long and narrow, elevated at both 
ends into the form of a new moon. The 
prow is armed by a ram’s head surmounted 
by a golden globe, denoting royalty aboard. 





L’EuNuQquUE 


Dans ces jours Cléopdtre est une flamme 
palpitante. 


Iras (dun rire dérisoire) 
Tu t’y connais donc, toi? Ha, ha, ha! 


L’EunvuQquE 


Je sais que les dieux eux mémes seraient jaloux 
de son amour. (Jl monte vers le fond de la 
scéne parcourrant des yeux le Nil.) 


Marpion 


Ne te moque pas: je l’envie, moi, je souffre 
tant! (elle incline la téte sur ses bras) 


L’EunvuquE . 
La cange royale approche, 
Ne vous attardez plus. 


(Marpion frappe les mains pour appeler les 
esclaves. De tous cétés les eunuques ac- 
courent, la lance a@ la main. Entrent 
aussi les jeunes esclaves). 


Marpion (aux Eunuques) 


Arretez! La Reine Cléopatre se rend au bain. 
(aux Esclaves) Veillez qur tout s’appréte. 


(Quelques unes des esclaves parsément de fleurs le 
bord du bassin, d’autres apportent des 
vétements pour la bain. Des Eunuques font 
jouer les fontaines. Les filles en badinant 
attrappent de leurs mains la rosée d’argent 
qui tombe des seins des cariatides, et en 
éclaboussent les Eunuques immobiles.) 


(Marpion frappe des mains et fait signe aux 
esclaves de se préparer a recevoir la Reine. 
La Cange de CLEOPATRE apparit avec la 
rapidité veloutée que peuvent lui donner 
cinquante rameurs. Au milieu de la barque 
s’éléve la tente Vhonneur, vivement coloriée 
et dorée. CLEOPATRE est étendue sur une 
couche @ pieds de ariffon.) 


CLEOPATRA’S NIGHT 


To the center rises a tent of honor highly 
colored and gilded. .Two chambers deco- 
rated with hieroglyphics occupy the horns of 
the crescent. The farther one has a super- 
structure which serves as pilot house. 

The pilot, a swarthy Egyptian, stands here man- 
ipulating two immense carved oars adjusted 
upon decorated stakes. In a tent of honor is 
a little bed supported upon griffens’ feet— 
reached by a stool with four steps. A semt- 
circular pillar of cedar wood fits the nape 
of Cleopatra’ s neck as she reclines languorous- 
ly. 

A slave stands beside her waving a large fan of ibis 
feathers. 
the little reed blinds with scented water. 

Cleopatra wears a golden helmet and many 
multi-colored heavy jewels in contrast to a 
robe of vapory revealing whiteness.) 


CLEOPATRA (who has been lying still, cries out) 
I swoon — I stifle — the God of Fire himself 
could not live in this air! 


(Mardion claps her hands —a black slave ap- 
pears balancing a tray laden with cups and 
slices of luscious melon — he pours a draught 
from the vase.) 


MarDION 
Sip of this — 


CLEOPATRA (barely touches her lips to the goblet, 
pushes it away) 


My veins seem filled with molten quicksilver. 
My largest pearl for one drop of rain! 
But from the inflamed pupil of that im- 
placable expanse no tear will fall. O the 
desolation of this land! Never a cloud, 
never a shadow — ever and always the 
terrible red eye of that sun—searching me 
out! 


MARDION 


Yet once again and soon shall his brazen face be 
dimmed by his silvered sister Night. 


A very young slave girl moistens | 


13 


(Une esclave debout prés d’elle balance un grand 
éventail de plume d’ibis. Une jeune es- 
clave arrose d’une pluie d’eau de senteur les 
petites jalousies de roseauz.) 


(CLEOPATRE est coiffé d’un casque d'or, elle est 
étincelante de pierreries massives et bariolées, 
qui contrastent avec la blanche vapeur de sa 
robe.) 


CLEOPATRE (qui est restée immobile, s’écrie) 
Hélas! j’étouffe! Le dieu du feu lui méme 
périrait dans cet air! 


(Marpion frappe des mains. Un _ esclave 
éthiopien entre portant un plateau chargé de 
tasses. Il en remplit une d’une amphore.) 


Marpion (offrant le breuvage) 


Buvez ceci. 


(CLEOPATRE touche a peine la coupe du bout 
des lévres et la repousse.) 


CLEOPATRE 
Du plomb fondu coule en mes veines. Je 
donnerais mes perles pour de la_ pluie! 
Des jeux des dieux impitoyables nulle 
larme ne tombera. Oh, la tristesse morne de 
ce ciel! Point de fraicheur, pas de nuages! 
Ce soleil rouge et sanglant comme un oeil 





| de Cyclope qui me regarde! 

| MARDION 

| 

| Cet oeil farouch et fier deviendra plus calme 
sous les caresses de la nuit. 


14 CLEOPATRA’S NIGHT 


CLEOPATRA 


The night will bring no surcease—only thoughts 
which turn my flesh to stone with terror— 
The Mummies, Mardion—those bandage- 
swathed myriads —layers on layers of 
them — forty feet deep! What do they 
whisper to each other as they lie face to 
face through the long night; what is their 
secret? Oh, if the crawling grave-worm, 
could be made to speak! What fate un- 
merited — to be theill-starred Queen of 
Mummies! 


Tras 
Are you not our Queen too — all we who re- 
spond as the quivering harp to life’s 
lightest touch. 
CLEOPATRA (disregarding) 
Even were I loved — but Iam not — I am not. 


Marpion 


How not, O Queen, when every speeding 
glance of yours leaves in its wake a shatter- 
ed heart? 


CLEOPATRA 


How should a Queen know whether she be loved 
orno? Were I to descend from my throne 
might I not fall short of the success of the 
first courtesan from Athens? (She rises, 
stretches her arms in supplication). 


O Gods, give me proof —that I am loved, 


because I am my woman’s self! Give 
me some poignant unexpected, some 
strangely sweet adventure. Give me — 


something radiantly rarely different — 
everything known is staled and unsupport- 
able! Gods, Gods, do not deny me — 
something to enkindle a fresh spark of life 
in my heart, atrophied as thisland. Gods, 
Gods, do not deny! 


(Cleopatra’s arms are still extended in the exalta- 
tion of invocation, when a curious whistling 
sound is heard—and a quivering arrow 
buries .its point near her. CLEOPATRA 
swooning with terror stifles a scream and 
sinks back on the couch). 





CLEOPATRE 


Non, rien ne me console, la peur me prend, et 
les terreurs me glacent. Les ombres! 
Mardion! ces spectres sinistres! C’est une 
ville de morts. La, sous la pierre que 
disent-ils dans le tombeau depuis mille ans, 
face 4 face dans la nuit? Qui peut le dire? 
Ah, le ver du sépulchre devrait parler! 
C’est un destin que je ne mérite point, 
étre Reine des ombres! 


Tras 
N’étes-vous pas, O Reine, la divinité des peuples 
entiers prosternés devant vous? 


Ciiopatre (dédaignant d’écouter) 


Ah, si l’on m’aimait! mais nul ne m’aime! 


Marpion 


O Reine! Chaque doux regard de vos yeux | 
perce un coeur comme une fléche. 


CL&OPATRE 


Comment la Reine saurait-elle qu’on l’aime? 
(CLEOPATRE étend les bras d’un geste exalté) 
O dieux, accordez-moi une vie nouvelle 
d’amour, de joie, de réves, d’aventures 
imprévues. Dieux! dieux! Dans ma soli- 
tude envoyez un songe, un songe enivrant 
qui charme mon coeur. Dieux! dieux! 
veuillez m’entendre! 


(Les bras de CLEOPATRE sont encore étendus 
en un geste d’invocation, quand un sziffle- 
ment se fait entendre et une fléche vient se 
planter en tremblant prés delle. Cibo- 
PATRE, presque défaillante retient un cri, 
et se laisse rétomber sur la couche.) 


CLEOPATRA’S NIGHT 


(MARDION rushes forward, picks up the arrow 
which is wound round with a piece of 
papyrus.) 

CLEOPATRA 


Even unto my utmost privacy do these assassins 
penetrate — Someone shall pay tenfold 
for every suffocating heart-beat this out- 
rage causes me. 


Marpion (who has looked at the papyrus and 
quickly crushes it to her) 


Let your fears abate, O Queen —this was 
not sped by an assassin. 


CLEOPATRA 


By whom then? (Marpion mutely shakes her 
head). What hold you to your heart? 


MAarbDION 
Nothing! 


CLEOPATRA 


From nothing much may come. Give it to me 
—I command! (Marpion gives her the 
papyrus. She reads in her siren’s voice) 
“T love you” (She repeats softly) “I love 
you,” “nothing?” Ye immortal Gods! 
Nothing! Thethree most magical words 
in all the universe! “I love you.” (She 
steps her bare feet into sandals, throws a 
““Byssus”’ over her shoulders). From which 
direction sped this? (MarpIon is silent, 
brooding). 


IRAs 
From the Nile, O Queen. 


CLEOPATRA (rushing to Marpion who stands 
gazing moodily out over the water). 


Iras speaks true — See — far over there — a 
man propels a frail boat! He crosses that 
path—of light—he—(wailing) I cannot see 
him more — Quick, Mardion—quick, sum- 
mon Diomedes, he is my fastest rower. 





15 


(Marpion s’élance pour ramasser la fléche dont 
le bois est entouré d’un rouleau de papyrus). 


CLEOPATRE (courroucée) 
Ah, on veut done ma vie? Saisissez le traitre, 
pour cet outrage a l’instant méme qu’il paie 
de sa mort. 


(Marpion déroule de la fléche le papyrus, le lit, 
et le serre contre son coeur.) 


Votre crainte est vaine, O Reine, cette fléche 
n’est d’aucun traitre. 


CLEOPATRE 


De qui donc? (Marpion secoue la téte en 
silence) Dans ta main que tiens-tu? 


MArDION 
Rien — 


CLEOPATRE 


D’un rien tout peut venir, Donne, donne! 
Je commande! (Marpion lui donne le 
papyrus. Lisant de sa voix de siréne) 
“Je t'aime!” Dieux immortels! “Rien!’’ 
“Je t'aime!’ Ce sont bien 1a les mots les 
plus puissants au monde! Merci, dieux! 
(CLEOPATRE appelle Marpion afin de lui 
montrer le papyrus.) 


Mardion, Mardion! “Je t’aime!”’ 


(MaARDION reste muette) 


De quel cété vint la fléche? 


IRAS 
Du cété du Nil. 


CLEOPATRE (s’élangant vers MARDION qui reste 
les yeux mornes fixés au lointain sur l'eau.) 


Elle dit vrai. Vois-tu labas la téte d’un homme 
qui nage passant dans la clarté. On ne 
peut plus le voir. HAtez-vous! De mes 
rameurs envoyez le plus rapide. 


(Entre DiomMEDE) 


16 CLEOPATRA’S NIGHT 


Marpion 

He is here. (Di1omepEs stands ready, huge and 

shining black). 
CLEOPATRA 

Diomedes — a man is out there —I saw him 
but a moment since. Bring him to me — 
he battles alone against the river’s swiftest 
current — your task is easy — bring him to 
me swiftly —and alive. Alive, or your 
own life answers. 
(DIoMEDEs bows low and enters a boat, the 
swishing sound of the oars is heard) 


(CLEopaATRA, looking at the papyrus) 


Splendid audacity —to pierce my heart with 
one swift dart.‘* I love you—I love you!” 
This is the message my whole being stood 
quivering to receive. Gods, gods, I thank 
you! From no sear mummy’s heart came 
these words— potent to transmute the 
dross of this existence into treasure un- 
appraisable. “I love you’ — but three 
little words yet would I not barter them for 
tunics of purple thrice dyed and freighted 
with pearls, nor for flawless mirrors of mol- 
ten steel, nor yet for chariots of silver 
starred with sapphires. Yes — even were 
the very Cestus of Venus offered me in- 
stead, I should say, No— No! 

“IT love you,” what genius invisible could so 
mysteriously have divined my innermost 
hunger? 

Gods, let me behold him — I desire but to be- 
hold this man! 

Loose my hair. (They loosen her hair — it 
falls in a dark cloud to her feet, shtelding her 
almost as a cloak. 

Crown me but with blossoms of lotus. To- 
night let me be less than queen, yet more 
woman than all others, because a brave 
man has dared to say, “I love you.” 


(She is crowned with lotus blossoms). 

(Her hair about her, she stands revealed in her 
last gossamer tunic, confined at the shoulder 
by a single jeweled clasp. She descends the 
steps of the bath with four slave girls who 
shield her from the stolid gaze of the eunuchs, 
with uplifted gauzes of turquoise banded with 
gold.) 





Marpion 
Le voici. 
CLEOPATRE 


Qu’on aille 4 la poursuite de ’inconnu. Qu’on 
le raméne, vivant, vivant, si non, de ta 
mort méme _ sois certain! (DiommDE 
s’incline profondément et entre dans sa 
barque. Les esclaves du bain commencent 
a dévétir CL&OPATRE, qui, préoccupée du 
papyrus ne fait nulle attention a elles. 
L’on entend le bruit des rames dans l'eau) 


CL&opAtrRE (lisant de nouveau) 


Vaime!”’ Splendide audace, blesser mon 
coeur d’um trait soudain! “Je t’aime, 
je taime.”” C’est le message que, frémis- 
sant, tout mon étre attendait. Dieux 
tout puissants, je vous remercie, ces trois 
mots de vive flamme, viennent d’un coeur 
qui lut dans mon Ame le secret de mon 
ardent désir. “Je t’aime!” Mots si 
caressants, ouvrant tout un monde de 
douce magie et que je n’échangerais pas 
pour toutes les richesses du dieu Plutus. 
Si Jupiter m’offrait le tréne de |’Olympe, 
Aphrodite méme m/’offrait son ceste, haut- 
aine et fiére je diraisnon! Non! “Je t’aime, 
je t'aime.” Rayons ineffables illuminant 
la nuit de ma sombre destinée! Dieux 
tout puissants, cet homme qui m’aime, 
qu’il soit 4 moi! 

(Une esclave denoue les cheveux de CLEOPATRE 
Ils se répandent en une cascade noire jus- 
qu’a ses greds, la recouvrant comme d’un 
manteau.) 


“Se 


Mardion, ce soir couronnez-moi de fleurs de 
lotus, que je sois moins Reine et plus 
femme que toute autre. Un homme, un 
brave osa me dire, “Je t’aime.”’ 


(On la couronne de fleurs de lotus. Entourée 
de ses cheveux dénoues, et parée d’une seule 
tunique diaphane retenue a lV’épaule par une 
agrafe incrustée de pierres precieuses, elle 
descend les marches du bassin accompagnée 
de quatre esclaves, qui la mettent & V'abri du 
regard impassible des eunuques en élevant 
au devant delle des écharpes en tissu tur- 
quoise bordé d’or.) 


CLEOPATRA’S NIGHT 


CLEOPATRA (giving her the papyrus) 

Guard well this treasure for me, Mardion. 
(putting a foot into the water draws it back 
quickly) 


How cold the water! (the clasp is unfas- 
tened on one shoulder — the filmy garment 
starts to slip. Cleopatra utters a piercing 
scream and wraps herself in the gauzes held 
by the girls, as a man staggers up gasping 
and glistening through the bath. He is 
young. The polished smoothness of his 
tawny orange skin covers sinews of steel. 
His blue black hair is flung from a brow 
serene as marble. His nostrils quiver like 
some lithe war horse’s on the eve of battle. 

Babel ensues. The Eunuchs leap forward, 
lances aimed, prepared stolidly to kill. 
MarDIon insinuatingly places the papyrus 
in CLEOPATRA’S hand.) 


CLEOPATRA (glances at it — commands im- 
periously) 

Hold! Bring him before me—then do your will. 

(The Eunuchs cast Mriamown at her feet — he 


does not cringe in fear — he might be taken | 


17 


CLEoPATRE (trempe dans l’eau son pied) 
Oh! que l’eau est froide! 


(Elle pousse un cri aigu et s’envelope dans les 
écharpes de gaze soutenues par les esclaves 
au moment ou un homme haletant et ruis- 
selant se jette en chancelant hors de l'eau du 
bain). 


(Un bruit confus de voix s’ensuit. 
accourent la lance au poin. L’un deux 
s’appréte, impassible, a tuer. MAarRDION 
glisse d’une facgon insidieuse le papyrus 
dans la main de CLEOPATRE) 


Les eunuques 


CLEOPATRE (commande impérieusement) 

Non! amenez cet homme Ja devant moi! 

(Les eunuques jettant MEIAMOUN aux pieds de 
la Reine; Il ne montre nulle crainte devant 





elle). 


for a bronze statue in the exalted attitude of | 


supplication to his chosen goddess.) 


CLEOPATRA 
Who are you? Answer me! (he does not answer) 
Why do I ask? Only another assassin 
bribed by Rome. 


(Mriamoun mutely shakes his head.) 


CLEOPATRA (imperiously) 


Know you ‘tis death to enter here? 

By Oms, the dog of Hell—I envy you your dar- 
ing. What evil intent propelled you to this 
sacred ground? What was your motive ? 
Tell me, or never more be heard. 


| CLEOPATRE 
Ton nom? Quel est il? N’est-tu de Rome 
quelqu’assassin. gagé? ~=Dis, — réponds. 
Réponds-moi! 
(Mr1amMoun garde le silence) 


CLEOPATRE 
La mort certaine t’attend. Par les Dieux des 
Enfers, j’'admire ton audace. 
(Avec colére montante) 
Pour quel dessein approchas-tu si pres de moi? 
Viens-tu te rendre? Infame, parle, ou 
meurs. 


18 CLEOPATRA’S NIGHT 


Meiamown (as if strangling at first) 
I love you. 


CxiEopatTrRA (starts — looks at the papyrus) 
Those words! 


MeriaMoun 
May my soul be found light in the balance of 
eternity, if ever I hoped to follow that 
arrow — the whirlpool of fate seized and 
cast me before you—you believe me—my 
Queen. 
(covers his face with his hands) 


CLEOPATRA 


Now I know you; like a complaining shade 
have you traced my steps. 


MEiAMOUN 


Where you dwell there can be no shade, only 
a radiance engulfing all in blinding light, 
my Queen of Queens. As if one loved a 
star far-furled in the limitless spaces. For 
months, in secret, have I fed on its 
mysterious sweetness until my senses 
swoon through sheer surfeit of ecstasy. 
Each night my star comes forth to lure me 
in its heaven. 


CLEOPATRA 
Madman! 


MEiAMOUN 


I was — until today — when I beheld you in all 
your enchantment. I gave my oath—even 
as I am yours, so should you be mine — 
though but for a night — a single hour — 
a few pulse beats out of all time, I swore it. 
All that I am, or hope to be, lies confessed, 
quivering before you. Be merciful, O my 
Queen. 


CLEOPATRA (snarling) 


Ah, so you can cringe. What mercy dare you 


ask? 





Me1amown (se léve avec dignité) 
Je t’aime. 


. CLEOPATRE 
Ces mots! 


MEeEIAMOUN 

Que les dieux me détruisent si j’eus jamais 
lespérance folle de te regarde ainsi dans les 
yeux. La main du destin méme me jette 
a tes pieds, que je baise, enfin. 

(Il se couvre le visage des mains) 

CLEOPATRE (saisissant les mains de ME1AMOUN 
lui découvre le visage qu'elle fixe des yeux.) 


Ah! Depuis longtemps je te vois errer comme 
une ombre pale. 


MEIAMOUN 

Oh, souveraine étoile, qui m’innondes de clarté, 
tu m’apparais, enfin, O Reine, j’ai con- 
templé l’étoile dans les lointains espaces, 
pendant des siécles j’ai chéri la splendeur 
rayonnante de son image dans mon coeur 
enivré de son réve d’extase. 

Et maintenant |’étoile descend de son ciel. 


CLEOPATRE 
Chimere! 


MEIAMOUN 


Chimére jusqu’a ce jour oU je te vis dans tout 
Vattrait de tes charmes. Je me jurai 
puisque je taimais que tu m/’aimerais, 
méme pour une nuit, pour un moment, un 
seul instant de l’éternité. 

Je le jure! 

Ma vie entiére est a toi, mon 4me, tout mon 
étre. Ah! prends pitié de moi, clémente 
Reine! 


CLEOPATRE 


Now, c’est la mort certaine, la mort t’attend. 


CLEOPATRA’S NIGHT 


MeyAMoun 


A swift sure death. We have breathed the 
same air — now I can die. 


CLEOPATRA 
But if your Queen should give you life? 


MEiAMOUN 
What should I do with life — now? 


CLEOPATRA 
Then merciful I’ll be — You shall die. 


MEiaAmouwn (indicating the Eunuchs) 


Bid them strike deep, I implore, and at my 
heart’s heart, that I may prove — — 


CLEOPATRA (interrupting) 

Not yet. A mood for miracles is upon me. 
What if your madman’s evanescent dream 
should be transmuted into reality? What 
if all the glories, the lightnings I am 
capable of should engulf you? 


MeiamMoun 


Cease to torture me, O my Queen. 
your will of me? 


What is 


CLEOPATRA (coming near to him) 

To raise you to the heights of your “star” for 
anight! (her tone changing to baleful tri- 
umph) 'Then when the hour comes plunge 
you back into nothingness. 


Marpion (who has been listening to this last in 


the greatest agitation, screams) 
Let it strike at once, Meiamoun. Take his life 
now, Queen! 


CLEOPATRA 
Nay —I will not take his life. I will buy it. 
My coin — the ensilvered hours of one 


night—a lifetime in a night alone with me. | 


Ah! 


Marpion (rushing toward Mriamoun) 


19 


| MEIAMOUN 


La mort certaine,— Je t’ai baisé les pieds. 
Vienne la mort! 


CLEOPATRE 
Et si je te donnais la vie? 


MEIAMOUN 
Que ferais-je d’elle? Non. 


CLEOPATRE 
Vienne donc cette mort, que tu demandes! 


MEIAMOUN 


_Qu’on me frappe, je t’implore, vite et fort, 
dans le fond de mon coeur. 


CLEOPATRE 
Attends. D’étre clémente j’ai le  caprice. 
| Que dirais-tu, si de ton réve d’or je faisais 
| une réalité, soudain, si tous les éclairs, les 
| splendeurs dont je suis Reine t’innon- 
| daient? 
| 


| 





MEIAMOUN 
Tu me mets a la torture. Que veux-tu de moi? 


| CLEOPATRE 

Je pourrais te conduire du néant aux étoiles, 
et puis quand l’heure sonne dans |’abime 
te replonger. 


MArDION (qui a écoutée avec agitation croissante, 
s’écrie.) 


Meiamoun, n’écoute pas! Sa vie, prenez-la! 


CLEOPATRE 
Non, je ne la prendrai pas, je l’achete, mon or 
une nuit d’amour et de merveille, une nuit 
entiere aupres de Cléopatre! Suffira-t-elle? 


Marpion (s’élancant vers MEIAMOUN) 


20 


Make no bargain with her. The coin she’d 
pay you in is tainted with much usage. 
(she gives him a little dagger) Your life, 
Meiamoun, is yours now, yours alone! 
Put it beyond her reach —e’er she for- 
ever befoul it. 

(CLEOPATRA claps her hands three times, points 
to Marpion. The Eunuchs seize her) 


CuiEopatTrRA (strides up to her in a white 


fury). 
This man — and you — you — you (she ends 
speechless.) 


Maropion (glorified) 


Long have my thoughts dwelt with him—even 
as his with you. 


CLEOPATRA (sweeping past her) 
What is she to you? 


MriaMoun 
I know her not. 


CLEOPATRA 
How am I to believe? 


MAarpIon 


He is beloved by many — Meiamoun — whom 
but to see is to burn for. 


CLEOPATRA 
So — you are beloved by many? 


MriaAMouN 
I know naught of them. 


Marpion 


Truth he speaks. No maiden benumbed by 
the icy shadow of her mother hath been 
more shy than he of us. 





CLEOPATRA’S NIGHT 


Ah! ne l’écoute pas! Cet or dont elle t’achéte 


est infame. (Marpion lui donne un 
poignard.) Ta vie est a toi, a toi seul, 
Meiamoun. Mets la sans hésiter a l’abri 


de son pouvoir. 


(CLEOPATRE frappe trois fois des mains, indique 
Marpion que les Eunuques saisissent.) 


CLEOPATRE (en une furie blanche) 
Cet homme et toi, toi—toi—toi! 


Marpion (exaltée) 
Depuis longtemps je l’aime — Comme il vous 
aime. 


CLEOPATRE 
Que veut-elle dire? 


MEeEIAMOUN 
Je ne saurais. 


CLEOPATRE 
Que faut-il supposer? 


MarpDion 


Il est aimé de toutes celles que le voient, et 
qu'il ne voit pas. 


CLEOPATRE (se rapprochant de Mertamoun) 
Ah! le bien-aimé des femmes — 


MEIAMOUN 
Je ignore. 
MarpIion 
Il dit vrai. L’insensible Hippolyte de Thésée, 


fut moins glacial, moins chaste que ne 
Vest Meiamoun. 


CLEOPATRA’S NIGHT 


CLEOPATRA (with the voice of the serpent) 

Meiamoun, the much beloved! Meiamoun, 
the chaste! What is your desire? To re- 
main insensible as the snows to us? (sway- 
ing him with a thousand currents). Vl 
not sway you to decision — ’tis in your 
own hand. Do you take your life, or sell 
it to me — for a night? 


MArDION 


Go now, Meiamoun. My love of life, go now— 
unsullied, unassailed by her — to better 
things! 


MeEiamMoun 
To better things! (raises the dagger as if to 
plunge it into his heart — flings it from him 
with a cry) I cannot. One night, one 


hour; one heart beat of eternity with you, | 


my Queen. 
gulf me. 


CLEOPATRA (reaching him her hand —he de- 
vours it with kisses) 
Be it so. 


MarpDIon 


So it shall never be — while I live! (she breaks 


from the Eunuchs, makes a rush for the dag- | 
ger and kills herself falling at MEiaMown’s | 


feet. The sun sets—the afterglow suf- 
fuses the sky with sensational colors of vio- 
let, orange and turquoise. The water in the 
curious light shines like quicksilver. All 
the objects along the river’s far bank are 
brought out in a sharp black relief against 
the crepuscular glow). 


CLEOPATRA (pointing to Marpion) 


More food for crocodiles. Throw her to them. 
(The Eunuchs remove Mardion’s body) 
(Cleopatra looks down at Meiamoun) 
What, still at my feet? Stand — face to 
face with your Queen. For tonight you 
are equal of a god. Give me your arm. 


Let the abyss yawn wide as | 
it will, it must wait your whim ere it en- | 


21 


CLEOPATRE 
Meiamoun, le bien-aimé! Meiamoun, le chaste! 
Quel est ton désir? Ton sort est dans tes 
mains. Je te donne la vie. ‘T’est-elle 
chére, plus chére que l’amour et que moi? 





MarDION 

Ah, va! Meiamoun, ne reste pas! Va, va, 
sans tache, vers la vie plus pure et plus 
belle — plus pure et plus belle. 


| 
| Metamoun (Il léve le poignard comme pour 
| le plonger dans son coeur — il le jette avec 
| un cri sourd.) 

_ Ah, Reine, pitié—une nuit—une heure avec toi, 
ma Reine! 

| 


(CLEOPATRE lui tend la main qu’il dévore de 
baisers) 


| MarbDIoNn 

Ce ne sera jamais moi vivante! (Elle s’élance 
des mains des Eunuques, saisit le poignard, 
le plonge dans son sein et tombe aux pieds 
de MEIAMOUN) 


soleil se couche. La lueur crépusculaire 
produit dans les cieux des reflets violets, 
oranges et turquoise. L’eau par cette 
étrange lumiére a Véclat mat d'une glace 
rue du cété du tain. A la faveur de cette 
clarté tous les accidents de la rive lointaine 
de fleuve se découpent en traits fermés et 
noirs contre horizon.) 


(Le 


CLEOPATRE (indiquant MarpDIoN) 


Que ceci soit jeté aux eaux du Nil. (Les 
Eunuques emportent le cadavre de Marpion) 


CLEOPATRE 
Non! 


Pas a mes pieds. 


22 CLEOPATRA’S. NIGHT 


(Puts her hand on his bare arm — half 


swooning as she leans against him). I de- 
sire — I desire to return to the palace — 
(CLEopaTRA with Mriamown half support- 
ing her—goes up the terrace toward the palace. 
The attendants, eunuchs, etc., form a cortége 
which follows them chanting) 


O living Queen of the regions above, and below! 
Cleopatra! Sister of Ptolemy proclaimed 
Goddess Evergetes. Eye of Light! chosen 
of the world! Cleopatra! Cleopatra! 


(CieopatRa enters the Cangia. Mriamoun 
follows and places himself at her feet. The 
Cangia slowly begins to glide.) 


CxLeopatrA (looking down on him) 
Meiamoun! 


Meiamoun (in adoration) 
Cleopatra! 


CLEOPATRA (pointing to the deepening twilight) 
See, our night! 


MEiAMOUN 
Now reigns supreme, my only star 


CLEOPATRA 
Gift of all the gods! 


Enp or Act I. 





(MeEramMoun se léve) 

Léve-toi jusqu’a moi. Pour ce soir je fais de 
toi ’égal d’un dieu. 

(presque défaillante) 

Donne ta main pour rentrer au Palais avec moi 
—viens. (Au sondela fanfare les assistants, 
les Eunuques etc., s’assemblent pour pré- 
parer la scéne derniére. Le cortege se 
forme, et monte lentement les marches de la 
terrasse vers le Palais) 

Femme de Ptolemée, nommée déesse Evergéte, 
et souveraine d’en bas et d’en haut! 
Souveraine, choisie du monde! Cléopatre, 
Cléopatre! Souveraine, choisie du monde! 


(CL&oPATRE entre dans la Cange. Mrtamoun 
la fait et s’assied a ses pieds, — Quelques 
suivants et suivantes entrent aussi, d'autres 
restent debout sur les marches pendant que la 


Cange commence a glisser doucement sur 


Veau.) 


CL&OPATRE (se penchant vers lut) 
Meiamoun! 


MErIAMowN (eatasie) 
Cléopatre! 
CLEOPATRE (montrant le crépuscule qui s’assom- 
brit) 


C’est notre nuit! 


MEIAMOUN 
Régne sur elle, sublime Etoile! 


CLEOPATRE 
Don de tous les dieux! 


RIDEAU 


CLEOPATRA’S NIGHT 


ACT II 


The action transpires just before sunrise on the 
Terraces of CLeopatRA’s Palace. 

Short thick columns variegated with hieroglyphics 
sustain the first tier of the terraces. Be- 
tween them at intervals crouches a colossal 
sphynx of basalt, crowned with the “‘pshent.” 

Above them rise the columns of the second tier 
crowned with female heads; bull-headed 
idols on thrones of stone, squat impassive 
between them. 

The third tier seems to reach the sky, From it, 
great elephants of bronze lift their trunks in 
trumpeting attitude. Carved gates open 
from the second and third tiers into the 
Palace. 

Stairways of polished porphyry connect the whole. 

“A wilderness of building — and self withdrawn 
into a wondrous depth.” 

On the second tier is a throne with golden griffens 
on either side. Ranged around it are the 
banquet tables for Cleopatra’s guests. Tri- 
pods of brass and giant candelabra shed their 
disheveled light through the vapors of in- 
cense. Giant flowers bloom in vases and 
strew the steps, at the bottom of which play 
perfumed fountains. The roof is the star- 
freighted Egyptian night, made luminous by 
the mystic oriental moon. 

The curtain rises as the slaves prepare the banquet. 

The guests stream out, some from the gates of the 
second terrace and some from the gardens. 
All are magnificent — the women seduction 
incarnate — the men boundlessly licentious. 


A Guest (catching a slave girl as she passes) 


Here is a dainty morsel for you not before 
espied. 

A Hunery Guest 

The pangs of hunger dull all 

Were we not bidden to a feast? 


I care not. 
others. 





23 


ACTE DEUXIEME 


L’ action se passe avant laube, sur les terrasses du 
Palais d’Eté de Cléopdtre. 

Des colonnes courtes, trapues, bigarrées d’hiér- 
oglyphes, soutiennent de leurs chapiteaux 
le premier étage des terrasses. Entre chaque 
pilier s’allonge un sphinx colossal de 
bésalte, coiffé du pschent. 

Au second étage les chapiteaux des colonnes sont 
formés par des tétes de femme. Des idoles 
impassibles a téte de taureau sont assis 
entre les colonnes. 

Un troisiéme étage parait se dresser jusqu’aux 
cieur. Des éléphants de bronze a trompe 
levée le couronnent. 

Au second et au troisiéme étage des grilles ciselées 
donnent entrée au palais. 

Des escaliers de porphyre tient entre elles ces 
grandes masses d’architecture. 

Au second étage se trouve un tréne soutenu de 
griffons d’or. Les tables du festin sont 
disposées autour de le tréne. 

Des trépieds d’airain et des candélabres gigan- 
tesques secouert leur lumiére échevelée a 
travers un brouillard d’encens. 

D’énormes fleurs s’épanouissent dans les vases, 
ou sont répandues sur les marches des 
escaliers, au bas des quels coulent des fon- 
taines d’eau de senteur. 

Formant coupole, le ciel étoilé, s’ouvre comme un 
gouffre bleu éclairé par la mystique lune de 
V Orient. 

Au lever du rideau les esclaves préparent le festin. 

Les convives arrivent les uns par les grilles de la 
seconde terrasse, les autres par le jardin. 
Tous sont superbes. Les femmes sont la 
séduction méme. Les hommes d'une licence 
sans borne. 


PREMIER CONVIVE (saisissant une esclave qui 
passe.) 
Ou vas-tu en telle hate, belle enfante? 


DrEUXIEME CONVIVE 


Qu’importe! N’est-il pas "heure du festin? 


24 


A Frema.e GuEst 


I would see this Meiamoun. Never before had 
any man — not even Antony — the power 
to cause her to forget the banquet hour. 


Tras 


Queen Cleopatra sends greeting. She robes 
herself even now for the repast. 


A Hunery GuEst 
The gods be thanked. 


Tras 


She bids you make ready to drink her health 
and that of Meiamoun. 


A Hunery Guest 


Even to this outcast dog —so that we but 
drink (goblets of gold are passed and filled 
with wine — thé guests hold them poised as 


A Eunucs (announces) 


They are here. (CLEOPATRA and MriamMoun 
appear at the top of the terrace) 


CHORUS 


Cleopatra — Cleopatra — Eye of Light! 
you dwell on us forever! 


May 


CLEOPATRA 
Drink yet again — and this time to Meiamoun. 


THE GUESTS 
To Meiamoun — Meiamoun chosen of the Sun! 


CLEOPATRA 
Be happy, all — as I am this night. 
(She descends the stairways leaning upon the 
arm of Mriamoun. The air is shattered 
with the shouts of guests, the croakings and 
tumblings of dwarfs — the blare of music. 
CiEopatRa seats herself on the throne. 
Meiamown makes as if to lie at her feet.) 


CLEOPATRA 
Nay, sit beside me. 





CLEOPATRA’S NIGHT 


Une Invit&e 


Je veux voir ce Meiamoun, parmi les hommes le 
premier qui eut jamais le don de faire 
oublier un festin a Cléop4tre. 


Iras (entre de la terrasse) 


Cléopatre approche. Royale soeur d’Aphro- 
dite et de Hathor. 


DEUXIEME CONVIVE 
Grands dieux merci! 


Tras 


Voulez-vous boire a sa santé et celle de Meia- 
moun. 


DEUXIEME CONVIVE 


Buvons méme 4a ce chien et surtout, buvons! 
(On fait circuler des coupes dor remplies de vin 
parmi les convives qui les tiennent a hauteur 


de bras.) 


L’EunuquE 
Ils approchent. (Mrramoun et CLirOPATRE 
apparaissent sur la seconde terrasse) 


CHOEUR 


Cléopatre, Cléopatre, Oeil du monde, que ton 
régne soit éternel! 


CLEOPATRE 
Buvez encore, buvez 4 Meiamoun. 


CHOEUR 
Meiamoun, Meiamoun, choisi du Soleil! 


CLEOPATRE (elle descend appuyée au bras de 
MeEIAmMown) 


Soyez heureux! heureux comme moi! 


(Lair retentit aux acclamations des convives et 
aux cris des nains bossus. CL&OPATRE 
s'assied sur le tréne. M®EtIAMOUN se pré- 
pare a s’étrendre a ses pieds.) 


CLEOPATRE 
Non, viens auprés de moi. 


CLEOPATRA’S NIGHT 


Meiamowun (pointing to the throne) 
There? 


CLEOPATRA 
Here — level with my heart. 


MeEiAMOUN 


Where your heart — is mine entwined — hence- 
forth and forever on. 


CLEOPATRA 


Meiamoun, Meiamoun — do not look at me 
more — still do I swoon "neath your gaze. 


MEYAMOUN 


How in this world shall I envisage aught again 
— save you — my Star of Fate? 


CLEOPATRA 


But if Icommand! (she claps her hands). Let 
the maidens from Greece dance for us. 
(Viands are passed on great carved golden 
trenchers and the wine poured from jewel in- 
crusted long snouted vessels. The guests fall 
to greedily. A boar roasted entire is carried 
on — cut into, it emits a flock of living birds. 
(CLEOPATRA is hungry — she eats vora- 
ciously at first — finally notices that Mria- 
MOUN has refused every dish) 


CLEOPATRA 


Is there naught here will satisfy — does my re- 
past not please you? 


MeriaMouN 


Ne’er has man feasted as I this night, yet hun- 
gered as I still do. 


CLEOPATRA (purposely misunderstanding) 


Then here be Phenicopters’ tongues (Meria- 
MOUN waves them off) 


MryAMOUN 


They’ll not appease the vultures that yet raven 
me (clutching his heart) 





25 


Meramown (indiquant le tréne) 
La! 


CL£OPATRE 
Oui, tout prés de mon coeur. 


MEIAMOUN 
Mon coeur bat ou bat le tien. 


CLEOPATRE 


Meiamoun, je me sens mourir sous ton regard 
ardent et doux. 


MEIAMOUN 


Au monde il n’est plus rien, mes yeux me 
cherchent ici bas que toi—toi, O Reine de 
mon destin. 


CLEOPATRE 


Mais, si je commande? Que les filles de Grece 
dansent. (De riches mets sur des plateaux 
en or ciselé parmi les convives attablés. 
On verse le vin de grandes amphores incrus- 
tées de pierreries. On apporte un sanglier 
réti entier, dont sort, quand on le coupe une 
volée d’oiseaux vivants. CLEOPATRE mange, 
mais elle s’appercoit que MEIAMOUN refuse 
de tous les plats.) 


CLEOPATRE 


N’est-il ici nulle chose qui te plaise ou tente? 


MEIAMOUN 


Apres un tel festin nul autre que moi, n’aurait 
voulu d’avantage. 


CLEOPATRE (indiquant un plat) 


Des langues de Phénicopteres? 


MErEIAMOUN 


Non, rien ne calmera les vautours qui me ron- 
gent. 


26 


CLEOPATRA 


Mayhap this dish of peacock’s brains stewed 
in rare wine will allay their pangs. 


MEriAMoUN 


As naught were all the brains of peacocks that 
e’er strutted. 


CLEOPATRA 


What then will glut this monstrous appetite — 
Meiamoun the insatiable? 


Meriamoun 
Let me devour that soul-shattering face, which 
men will die for down the ages. 


CLEOPATRA (leaning across MEiaMouN her face 
upturned to him) 

Meriamown (holding her yearningly) 

Like white of flames do you creep athwart my 
heart. This jewel crusted hour as all the 
others your bounty has made mine, is 

. packed with more than all eternity holds 
for most men. O wondrous star set in my 
lifetime of a night! 


CLEOPATRA 


Fuller still Pll pack it. My desert maidens 
shall weave their dances of madness for 
you. Comeforth! Held inviolate they — 
for the jaded kings of earth. Tonight 
they shall be for the quick. Come forth 
my maidens — Dance! — Dance for 
Meiamounas you ne’er have danced for 
any Emperor! 

(The band of desert maidens weave out sinuously 
from all directions. Incited by the dance, 
the guests grow more licentious. Some lie 
entwined as they watch. Others snatch 
at the dancing girls who, too exhausted to 
resist, are seized bodily and carried scream- 
ing and laughing to hidden spots of the gar- 
dens). 

Meiamown’s head is pillowed against CLEO- 
PATRA’S heart. 

( A grotesque of hunchbacked dwarfs lash the 
tired girls on with garlands of flowers, 
tumbling and shouting among them). 





CLEOPATRA’S NIGHT 


CLEOPATRE 


Et ces cervelles de paon, ne pourraient-elles 
apaiser ta faim? 


MEIAMOUN 
Non, rien n’apaisera ma faim sans limite. 


CL&OPATRE 


Que te faut-il alors, mon Meiamoun, Meiamoun 
Vinsatiable? 


MEIAMOUN 


Ah, laisse, laisse que je dévore de baisers ton 
visage. 


(CLEOPATRE se laissant tomber sur la poitrine 
de Mrtamouwn, léve vers lui son visage) 
(MErIAMOUN (avec un élan de passion et de ten- 

dresse) 

Ce visage que les hommes dans les siécles loin- 
tains mourront d’aimer, et qui change une 
heure en une éternité entiére. Ah, laisse 
ma pauvre Ame s’égarer dans tes yeux! 


CLEOPATRE 


Cette heure divine, je veux remplir de toute 
extase, de tout plaisir. (Une bande de 
filles du désert se glisse sinuesement de tous 
cétés sur la scéne) La danse! Dansez, 
mes filles, filles du désert, votre danse 
folle pour Meiamoun! (Pendant que la 
danse avance avec frénésie croissant, les 
convives s’emparent de filles trop épuisées 
pour se débattre, et les emportant criant et 
riant aux allées solitaires et cachées du 
jardin. Une grotesque bande de nains se 
ruant en criant parmi celles qui continuent 
a danser fouettent les filles épuisées avec de 
longues guirlandes de fleurs. Enfin tous 
quittent la scéne sauf CLHOPATRE et MEtIA- 
MOUN). 

(La téte de Metamoun est penchée sur l’épaule de 
CLE£OPATRE) 


CLEOPATRA’S NIGHT 


CLEOPATRA 
Meiamoun, how did you find my desert girls? 


MeEiamoun 
Though I looked, I saw them not. 


CLEOPATRA 


Mejamoun, Meiamoun, where were you 


schooled in love? 


MeEYAMOUN 


I have but counted o’er and o’er the sum of 
your enchantments. 


CLEOPATRA 


Dullards are all compared with you — Meia- 
moun — my gift of the waters. Tell me 
yet once again. 


MeEyAMOUN 


What can I tell you more that shall not weary 
you? 


CLEOPATRA 


Ne’er do I tire of those three magic words, 
which flung wide the portals of my heart. 


MEeEyAMOUN 


I love you — I love you. How shall I tell you 
how! I love you simply as the flowers 
turn to the sun — yet mysteriously as the 
ether’s unpierced vastness. I love you 
gently as a father lifts his new born girl- 
child, yet wildly as a lost soul staggering 
down to hell’s infernal. I love you as men 
cling to life. Star aflaming — enshrined 
in my soul’s soul. And when strange planes 


I tread—if gods be just —I still shall love | 


you more. 


CLEOPATRA (her hand on his mouth) 


Nay — tell me no more — here — where greedy 
ears may steal the honey of your words. 


In my garden’s heart hides a white temple | 


— there can we again be alone. 





27 


CL£OPATRE 
Meiamoun, ma danse te plait-elle? 


MEIAMOUN 


Je n’ai vu que toi. 


. CLE£OPATRE 
Meiamoun, Meiamoun, Roi de |’amour vain- 
queur! 
MEIAMOUN 


Et je revais sur ton coeur de neige et de flamme. 


 CL&oPATRE 
Meiamoun, fils du Nil sacré, redis-les moi, 
ces mots. 
MEIAMOUN 


Quels mots veux-tu que je te dise, je t’ai tout 
dit. 


CLEOPATRE 


Redis ces mots, si simples et tendres qui pour 
jamais charmerent tout mon coeur. 


MEIAMOUN 


Je t’aime, je t'aime! Quels mots te le dirant? 
Je t’aime comme aiment les fleurs au doux 
printemps; je t’aime avec tout le mystére 
des firmaments. Je t’aime comme une 
meére berce son enfant. Je t’aime comme 
aiment les Ames dans les enfers, et les 
tourments. Je t’aime, je t’aime! Quels 
mots te le diront? Je t’aime plus que 
lespérance, Cléopdtre, enchdssée dans 
mon Ame; et dans la mort je t’aimerais, 
déesse, plus que jamais! 


CLEOPATRE 
Viens avec moi, au jardin solitaire, la, nous 
nous trouverons dans le petit temple blanc. 


28 CLEOPATRA’S NIGHT 


Meriamown (who has started with her — his arms 
around her — suddenly seems to stiffen as 
with an icy chill — his arms drop from her 
as he cries) 

We cannot reach it now! 


CLEOPATRA 


Why not? ’Tis but a few swift steps. 


MEiAMOUN 


Yet may I not take them (pointing to a faint 
glow — the first premonition of day) See! 
The first outriders of the great White 
Queen — Here must I await them. 


CiEopaTRA (clapping her hands) 
Draw all the canopies. We'll not admit them. 


MeriaMoun 
Much may you do, yet the day must follow the 
night. 
CLEOPATRA (in a fury of impotence) 
It will not! It shall not! Tl shut it out — 
for a whole month shall darkness reign. 


Meiamowun (putting his arms around her) 


Yet Ido love her more for this than all her 
other moods of wonder, Cleopatra — my 
beautiful — 


CLEOPATRA (pushing him from her) 


Nay, you do not love me, else the very light of 
day would you deny for me. 


MriAMOUN 


For you — have I not foresworn the light that 
shall guide my soul to peace? Greater 
love can no man show. 


CLEOPATRA 


Meiamoun, Meiamoun, the night is still yours 
— yours but to desire! 


MeEiamown (proudly refusing the bait of his life) 
Naught have you left me to desire. 





Meiamown (qui est en train de suivre CLEOPATRE, 
Ventourant de ses bras, s’arréte, soudain, 
comme frappé dun fusson mortel. Il 
laisse retomber ses bras a ses cétés.) 


Nous n’y parviendrons pas. 


CLEOPATRE 
Pourquoi? Nous le voyons d’ici. 


MEIAMOUN 


Il est trop tard. (II indique dans les cieux une 
luer incertaine, premier pressentiment du 
jour.) 

Vois-tu labas l’aube naissante; mon sort est 
décidé. 


CLEOPATRE (frappant des mains pour appeler 
les esclaves) 


N’admettez pas le jour; Qu’on l’éteigne! 


MEIAMOUN 
Malgré ta puissance, le jour doit suivre la nuit. 


CLEOPATRE (avec fureur impuissante) 


Il faut—je veux, j’ordonne que la nuit continue 
tout un long mois! 


Meramoun (lentourant de ses bras) 


Ah, pour ces mots je t’aime plus encore que 
pour tous tes autres appas sublimes, ma 
Cléopatre! 


CLEOPATRE (le repoussant doucement) 


Tu ne m’aimes pas, si tu m’aimes, pour moi tu 
nierais le jour, mon Meiamoun. 


MEIAMOUN 
Ah, n’ai-je pas renoncé pour toi 4 la vie, a la 
lumiére. Quel amour veux-tu plus grand? 


CLEOPATRE 


Meiamoun, Meiamoun. La nuit est jeune 
encore. Elle est a toi! 


MEIAMOUN 
Tous mes désirs sont satisfaits. 


CLEOPATRA’S NIGHT 29 


CLEOPATRA 


Meijamoun — yet there is time — yours — 
any gift — to ask. 


MeEiAMOUN 


But one — when my soul first wings faltering 
to the far countries — will you hold its 
earthly shell to your heart, as now you do? 


CLEOPATRA 
I will, Meiamoun. 


MeEiAMOUN 


And sometimes in the dark still hours of night, 
when you start suddenly awake, will you 
think of me? 


CLEOPATRA 


Too much, I fear, shall my thoughts be of you. 

(sees the rosy light of dawn, utters a piercing cry) 

The dawn! 

(The distiller of poisons enters, stepping as if to 
a dirge. His aspect is chillingly sinister. 
He holds high a horn vase — so powerful is 
the poison it contains — a bluish vapor es- 
capes it. He stalks up to MEiaAMOoUN and 
presents him with it) 


MeriAMOUN 


Gods, I salute you. Through other ethers shall 
you still blaze for me, my star! Farewell! 
(he raises the vase to his lips) 


CLEOPATRA (cries oul — drawing his arm down) 
Nay, live! Live! — but to love me — here — 
I desire it — I — 
MEIAMOUN (seems to weaken) 
My Queen of Stars, I —— 


InAs (warningly) 


*Tis Antony’s horn. 





CLEOPATRE 
Meiamoun, tout est a toi, tu n’as qu’a demander. 


MEIAMOUN 


Alors, quand mon Ame fuira vers les régions 
funestes tiendras-tu mon coeur perdu sur 
ton coeur, comme 4a present? 


CLE&OPATRE 
Oh, oui, Meiamoun. 


MEIAMOUN 
Et dans les heures de la nuit penseras-tu parfois 
a moi? 
CLEOPATRE 


Oui, Meiamoun, je le jure.(En tournant la téte 
CLEOPATRE appercoit la clarté de V'aube.) 


L’aurore! (Un esclave entre portant a hauteur 
de bras un vase de corne contenant un poison 
si violent qu'une vapeur bleudtre s’en éléve. 
Il s’avance vers MErtAMOUN auquel il 
présente la coupe) 


MEIAMOUN (eztasie) 


Dieux, je vous salue! En d’autres sphéres tu 
brilleras pour moi, étoile! 


(Il léve la coupe) Adieu! 


CLEOPATRE 
Non, non, vis pour moi! Je te le commande! 
MEIAMOUN 
Ah, Cléop4tre! 


IRAs (accourant) 


C’est Mare Antoine! 


30 


(CLEOPATRA loosens her grasp on MEiAMOUN’S 
arm — her own drops dejectedly to her side) 


MEiAMOUN 


’Tis the siren call of Destiny — inescapable. 
Farewell, O my wondrous one! 


CLEOPATRA 


Farewell. Meiamoun unlike all others. 


(He drains the poison and falls at her feet as if 
shot, as four heralds at arms enter on horse- 
back — officers of Antony.) 


(As CieopatrRa claps her hands the Eunuchs 
enter and cover MriamMoun’s body with silken 
cloths.) 


ANTONY’s CHIEF OFFICER 


Greeting from Antony — O Queen. 


CLEOPATRA (imperiously) 


Ride back! Tell him I await him eagerly. (Her 
voice falters. Antony’s men exit.) 


Cieopatra (holding Metamown to her heart— 
her voice breaking) 


Meiamoun, Meiamoun, see, I keep my promise. 
I hold you close. All-precious gift of the 
gods. Where are you now? Where 
wings that fire-purged soul? Almost — 
I too — would soar there with you alone — 
Meiamoun — I shall think of you — in the 
cool of moonlight nights, as in sterile 
stretching days — oft shall I be with you. 
You were right—even our night of 
dreams has vanished. Shattered and 
scattered where? Into Emptiness! No 
more — no more — my gift of the waters. 


Antony (calls ringingly from the Palace) 


Cleopatra! 








CLEOPATRA’S NIGHT 


MEIAMOUN 


C’est l’appel inevitable de la destinée. Adieu, 


étoile d’amour! 


CL&OPATRE 
Adieu, O Meiamoun. Adieu, mon réve! 


(Meramoun vide la coupe et tombe comme 
frappé de la foudre aux pieds de CLEOPATRE) 


(CLEOPATRE frappe des mains. Les Eunuques 
entrent et posent sur le cadavre de MeEta- 
MOUN un voile de soie. Entrent quatre 
hérauts d’armes, officiers de Mare Antoine) 


PREMIER OFFICIER DE Marc ANTOINE 


Mare Antoine vous salue, O Reine. 


CL&OPATRE 


Allez, dites-lui qu’ici je l’atteads. (Aussitot 
que les hérauts de Marc ANTOINE sont partis, 
CLEOPATRE qui s’est laissée choir sur un 
banc de pierre se léve et s’avance lentement 
vers le cadavre de Mertamoun. Durant 
les arpéges des harpes elle le découvre et 
regard avec tendresse. 


CL&OPATRE (tenant dans ses bras MEIAMOUN. 
le coeur et la voix brisés) 


Je tiens ma promesse, je te presse sur mon coeur. 
Don précieux de nos Dieux, ot done as-tu 
fui? Ame si pure et si fiére, pour toujours 
je veux vers toi m’envoler. O Meiamoun, 
de nos réves la nuit méme n’a laissé qu’un 
vide immense. Je tiens ma promesse, je 
te presse sur mon coeur. Oh, réponds- 
moi, mon Meiamoun. Hélas! Don 
précieux de nos Dieux, toi que seul j’aimais! 
(Elle s’agenouille auprés de lui et Vembrasse 
avec tendresse.) 


Marc ANTOINE (au déhors) 
Cléopatre! 


CLEOPATRA’S NIGHT 


CLEOPATRA 
Yes, my Antony — I come. 
(CLEOPATRA once more yearningly holds Mria- 
MOUN to her heart — then resolutely walks 


toward the terrace steps and ascends them as 
the priests continue) 


Tue Priests 
O Nutar, Nutar amtu heret—send us the rain! 


(CLEOPATRA slowly enters the palace.) 


Thou, who causest all growth to fulfill desire — 
grant our one prayer. 


(She slowly ascends the terrace.) 


(Tue Curtain DeEscenps) 
END OF THE OPERA 


31 


CLEOPATRE (se léve) 
Marc Antoine, je viens. 


(Aprés un moment CLEOPATRE s’achemine vers 
le palais mais se tourne. Elle revient 
lentement sur ses pas) 


Les Prérres (chantent au loin) 
O Nutar, Nutar, amtu heret, donne la pluie! 


(CLEOPATRE regarde tristement MEIAMOUN, 
lui prend la téte entre les mains et baise ses 
lévres) 

Toi dont vient tout désir, tout apaisement, 


écoute-nous. (Elle monte lentement les 
marches de la terrasse.) 


(RipEav) 
Fin vE L’Opéra 








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